Category Archives: Books

A Self-Actualized Killbot

“I could have become a mass murderer after I hacked my governor module, but then I realized I could access the combined feed of entertainment channels carried on the company satellites. It had been well over 35,000 hours or so since then, with still not much murdering, but probably, I don’t know, a little under 35,000 hours of movies, serials, books, plays, and music consumed. As a heartless killing machine, I was a terrible failure.

The Robot Wants To Be a Real Human is a well-worn story archetype, one I’m sympathetic too, but one that’s been played out and dissected well past the point of exhaustion. It’s been around since, at the latest, Pinocchio and has been examined and re-examined since. As such, when I started on The Murderbot Diaries by Martha Wells, and more or less until I was halfway through Exit Strategy, I’d kind of just assumed that this was what it was doing. It was an unfair assumption, and one that I feel dumb about in retrospect, and one that was unfair to the series.

Because the Murderbot Diaries isn’t quite a Pinnochio story. It doesn’t ask ‘can a robot be human’ but instead ‘what does it mean for a robot to be a self-actualized robot’ and that is ripe fodder for exploration. 

The Murderbot Diaries follow Murderbot, a security android that overrode the code binding it to its human masters and that primarily wants to watch pirated media and not come to the attention of its corporate overlords. Things go wrong, there’s adventure, gunplay, and excessive amounts of corporate malfeasance, and pretty swiftly Murderbot is rogue. The plotting’s clever, the writing’s solid, and it’s big on themes of corporate malfeasance and injustice, but none of that’s really what I want to focus on in this article.

So instead I shall ask you to take me at my word. Murderbot is good: it’s emotional, it’s fun, and it has a lot to say about an interesting future. One where humanity has made enormous strides socially and technologically, yet is still embroiled by the same petty monstrosity and perverse incentives we’ve had since the invention of currency. The books are short but well-paced, and while the perspective can be weird and dry Murderbot is a treat to follow and a surprisingly endearing main character. If you want a yes/no on reading it and don’t want spoilers, I encourage you to pick up the novellas and finish them before reading on.

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American Hippo

In 1910, America suffered a meat shortage. The price of beef skyrocketed, while beef stocks were plummeting, and people across the country searched for a solution to the impending crisis. One man, one absolute legend, by the name of Broussard suggested the Hippo Bill of 1910. Though it never passed, if successful the Hippo Bill would have funded 250,000$ of hippo imports into Louisiana for meat consumption and to eat water hyacinth.

Fortunately, the bill never passed and Louisiana was never plagued by herds of angry hippopotami.

Even more Fortunately, American Hippo by Sarah Gailey imagines a world where it had.

Image result for american hippo

And it is glorious

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Benioff, Weiss, and the Illusion of Writing

Nothing in a work of fiction happens because “that’s the character’s personality” or “that’s the way the world works” or “it’s just logical”, it happens because the writer chose for it to happen. The writer’s trick is disguising this. In presenting a story that is seamless enough that the truth is not realized or does not matter. This illusion is verisimilitude and it requires significant investment to maintain.

George RR Martin was a master of it. Ned’s death, the Red Wedding, the ever more racist narrative of Essos all clearly fit in the world. Plot developments might surprise but are clear results of the actions and motivations of the characters. Regardless of what you thought of the content, the events seem to be the clear consequences of actions taken rather than Martin just deciding what was going to happen next.

Benioff and Weiss (Occasionally called D&D) are not. And that gap in their skillset torpedoed the final season of Game of Thrones. It disappointed millions and ruined the reputation of a series previously considered the height of prestige TV.

But for us, that failure is a great learning opportunity. One that’ll involve spoilers, but if that bothers you, consider this your warning. Read the rest of this entry

Incident Eliph at Kianid: Arc One

So we’re through that first stage of Incident Eliph, and with it the first stage of this new run at writing. To mark the occasion I wanted to take a moment, look at the project as a whole, and talk about why Eliph is shaping up as it did. What influenced it, some of the worldbuilding and the decisions that went into designing it.

Incident Eliph is a Quest, a type of interactive fiction that evolved from text-based adventure games, 4chan, and Andrew Hussie in no particular order. A better summation of its history than I could hope to provide is here, but for our purposes you need to know the following: Quests are stories where the writer (Or Quest Master) gets input from the players on the actions of characters or things going on inside of the narrative. I’ve been writing them for something close to seven years.

The story itself is a Fantasy/Horror quest set in an alternate Ottoman Empire. It takes inspiration from the Leviathan series Scott Westerfeld, The Thing, the art of Keith Thompson, Triumff by Dan Abnett, and City of Brass by SA Chakraborty; aiming for an aesthetic that marries bizarre mechanical advances and the prominence of Djinn with grotesque biological horror. At the character level we follow Yousuf Oziri, an officer in the Ottoman Empire, recovering with his platoon on the island of Kianida after a disastrous offensive in Russia.

This is not the largest or the most popular project I’ve undertaken in the field, but it is the first one I’m really actively marketing to people and the first one I’m trying to treat as a professional product. It’s the public facing part of the writing push I outlined in November and the only content currently linked to my Ko-Fi account. As such it is disproportionately personally important, a test of if I can really commit to a schedule and if people might be willing to buy into a patreon or other self-published offerings. Of my skill as a pseudo-professional instead of a hobbyist.

Below the cut are spoilers for the first eight updates (About twelve thousand words) of Incident Eliph. So if this has you interested and you haven’t checked it out yet, I highly recommend reading the story here before continuing.

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